Bridges 2020 Conference Proceedings A Two-Dimensional Introduction to Sashiko Carol Hayes1 and Katherine A. Seaton2 1School of Culture, History and Language, ANU; [email protected] 2Department of Mathematics and Statistics, La Trobe University; [email protected] Abstract Through the hands-on creation of two sashiko pieces of work – a counted thread kogin bookmark and a single running stitched hitomezashi sampler – participants will explore not only the living cultural history of this traditional Japanese needlework but will also experience the mathematics of sashiko in a tangible form, and will take away with them items of simple beauty. Introduction Sashiko is inherently two-dimensional, being a form of stitching on fabric, or through layers of fabric. This workshop will also be two-dimensional in the sense that the presenters approach sashiko from different directions. Carol Hayes’ area of expertise is Japanese language and culture, while Katherine Seaton is a mathematician. A third two-dimensional element speaks to Japanese aesthetic tradition. In the eyes of renowned Edo poet Matsuo Bashō, the vertical axis represents a link back to past tradition while the horizontal places the work in the everyday world of the “contemporary, urban commoner life and a new social order” [16]. So the vertical is an unbreakable link to the sincere heart of the cultural past and the horizontal a challenge to those conventions, offering a new contemporary perspective [4]. Contemporary sashiko is the union of these two dimensions. This appears to be only the second appearance of sashiko at a Bridges conference. In 2006, Setsu Pickett described geometric features of contemporary pattern sashiko (moyōzashi), such as parallel lines, grids and arcs of circles, in a short talk [13], and illustrated them in her art exhibition piece Counterweights and Plovers [14]. Her motivation to analyse sashiko, particularly the underlying geometry of the hemp leaf pattern (asa-no-ha), was to use it as an inspiration for her usual medium of velvet weaving designs [15]. Sashiko Sashiko needlework began as a functional, simple running stitch used to repair or strengthen garments, to patch worn clothes and to quilt multiple layers of rough fabric together for warmth. Translating as ‘little stabs’ the name refers to the act of pushing the needle through cloth. Sashiko has its origins in the practical rather than the decorative, born of the “wisdom of everyday life” embodying the “beauty of the functional” [10]. The simple and repetitive technique of sashiko stitching requires the stitcher to be present in the moment, to focus on the work at hand. The tradition, found around the world, of patching fragments of material together to create a durable fabric, is a means of salvaging a scarce resource. Rags were collected and stored from older items, and scraps were bought from merchants selling used garments from the more affluent Edo, Osaka and Kyoto regions [20]. This method of darning and quilting with running stitches is also referred to as boro and it has become increasingly well-known in recent years in the slow fashion movement as a form of visible mending [5]. See Figure 1 for a traditional example. The trajectory of sashiko is like that of stitching across the world. As embroidery researcher Lanto Synge notes: “The earliest needlework was of a plain, practical nature, done with strong fibrous materials such as hair, to join skins and furs for clothing, and embroidery was used to strengthen parts subject to greater wear. From this basic necessity a sumptuous decorative art gradually emerged” [19]. 517 Hayes and Seaton Figure 1: Boro kimono, Amuse Museum Permanent Exhibition. (Photo by Carol Hayes.) There are three main types of traditional sashiko; hishizashi, koginzashi, and shōnai sashiko. The dense quilting stitches of Tsugaru Koginzashi and Nambu Hishizashi both originated in Aomori prefecture in the Northern Tohoku region of Japan where the weather could be very cold, and thick, sturdy fabric was needed for clothes. In the shōnai form hitomezashi, which means “one-stitch sashiko”, the pattern is created by using relatively large running stitches all of the same length. These styles are shown in Figure 2. (a) (b) Figure 2: Traditional sashiko: (a) Nambu hishizashi, Amuse Museum collection, (b) Antique Tsugaru koginzashi, behind a piece of shōnai hitomezashi, Yoshiura Collection. (Photos by Carol Hayes.) 518 A Two-Dimensional Introduction to Sashiko All three styles employ counted-thread techniques wherein an underlying grid, provided by the warp and weft of the fabric, is used to create the design, as in cross-stitch or black work. Unlike cross-stitch, however, which is generally worked from the centre of the piece outwards, sashiko is worked from edge to edge. One of the main differences between the kogin and hishi styles is that for the kogin patterns the stitches are worked across an odd number of fabric threads, while for the hishi patterns the stiches are worked across an even number. In some hitomezashi patterns, stitches are worked one at a time and meet at points on the underlying grid; in the other styles the space between stitches remains visible. Contemporary pattern sashiko (moyōzashi) pieces use spaced running stitches on a single layer of fabric, pre-printed or marked up using a template prior to stitching. This form of sashiko has been popularised globally, see for example [3]. The hitomezashi kit guide [9] in Figure 3 demonstrates that, after working the border, the vertical (1), horizontal (2) and diagonal (3) lines are completed in ordered progression using uniform stitches. Figure 3: A modern commercially produced hitomezashi kit [9], showing both the fabric pre-marked with the stitch placement, and the instruction to work all stitches in a given direction before moving to the next direction. (Photo by Carol Hayes.) Sashiko and Japanese Culture Hierarchy was an important element of pre-modern societies, and Japan was no different. The story of sashiko is also a story of self-worth, of how one accounts for oneself. Clothing, both functional and decorative, speaks to both the status and the taste of the wearer. Sashiko is also a narrative of the human desire for beauty, for the decorative in the most impoverished functional space [8]. Although running stitch has a long history in Japan (as in the rest of the world), the distinctive sashiko stitching patterns developed in the Edo period (1603-1868). During this period, which saw the rise of the merchant middle class, the government released a series of increasingly punitive sumptuary laws and regulations limiting private expenditure on clothing and other personal items. The aim was to regulate differences between social classes by curbing conspicuous consumption, particularly when it caused blurring of the lines between social classes [12]. These laws provide an important context for the development of sashiko stitching, because under the this regime both silk and cotton were forbidden to the commoners [17]. The people of the Tohoku region developed their own cloth using hemp, usually dyed with indigo, which is rough and has an open weave. It can be argued that surface sashiko stitching developed to soften the poor quality of the fabric used, and the quilting allowed wadding from plant matter or old rags to be added between layers for further warmth. Certain occupations caused different types of wear-and-tear to garments influencing pattern placement; 519 Hayes and Seaton farmers and labourers carried heavy loads on their shoulders, while firemen needed thick coats to protect them from the flames. Patching was originally done with thread that came from the garment itself, but as undyed white cotton thread became available it began to be used to mend garments. Although the white thread faded with use, each layer of sashiko mending allowed for the potential of patterns to develop in the stitching. The running stitch lent itself to stop-start working, and so commoners who had saved even small lengths of thread could use this style of patterned stitching. As the practice of functional sashiko stitching became more widespread, decorative patterns developed and it began to be used not only by the peasant classes but by lower and middle classes as a more decorative form of domestic needlework. Household wash cloths and hand towels began to be stitched with sashiko patterns. Sashiko developed into a decorative stitching that uses numerous patterns to decorate clothes and daily items such as napkins. These patterns reflect the nature of Japanese society: farming and fishing, the seasons and the natural landscape of Japan. Traditionally, and now as part of the mindfulness movement, sashiko stitching can be a meditative experience of well-being, with each stitch a deliberate thought or small prayer [8]. Mathematics of Sashiko There are obvious decorative geometric patterns in the pieces shown in Figure 2 and Figure 4, but this is just the surface mathematics of sashiko. We will limit our attention to hitomezashi on the square grid and find much rich content to survey even in this confined environment. (a) (b) Figure 4: A hitomezashi sampler as will be made in this workshop: (a) horizontal stitches being added to the vertical stitches already in place, revealing the pattern; (b) mountain form (yamagata) in the bottom of the piece, and a variant of the persimmon flower (kakinohanazashi) towards the top. (Work and photo by K. Seaton.) Counting Consider the lines of running stitch, shown in Figure 4(a). There are only two ways in which the first stitch in a line can be made; either it is formed on the front of the fabric, or on the reverse. There is then, by the nature of running stitch, no choice about how to place the subsequent stitches in that line.